ETCHING  S 

BY 

AUGUSTE  LEPERE 


■ F.  G.  mcmann; 

556  - 658  FIFTH 

N V-  YORKS 


1920 


o«,.x>£  .* « R-n »! 

4. 


No.  io  Dans  le  Ruisseau  a Montmartre 


CATALOGUE  OF  A NOTABLE 
COLLECTION  OF  ETCHINGS 


BY 

AUGUSTE  LEPERE 


[1849-1918] 


Galleries  of 

M.  KNOEDLER  dc  CO. 
556-558  Fifth  Avenue 
New  York 


Commencing  March  15  th,  1920 


FOREWORD 


HIS  son  of  Paris,  had  he  lived  ten 
days  longer  would  have  completed 
his  three  score  and  ten  years,  a 
riper  age  than  the  majority  of  the 
workers  in  this,  his  chosen  profes- 
sion. He  was  not  a robust  man,  it 
is  but  natural  to  suppose  that  the  out-door  life  he 
was  called  upon  to  lead  added  many  years  to  it.  His 
favorite  resort  was  in  the  department  of  La  Vendee, 
one  of  the  most  interesting  in  France.  It  is  situated 
on  its  western  front,  having  six  navigable  rivers,  viz. : 
Austise,  Vendee,  Lay,  Vic.  Sevre-Nortaise  and  Sevre- 
Nantaise.  These  rivers  naturally  divided  the  land- 
scape into  marsh  land  “le  Marais”  wooded  tracts  “le 
Bocage”  and  “la  Plaine,”  or  plain  country  lands  all 
presenting  to  an  artist  who  loves  nature,  every  va- 
riety and  phase  of  it.  The  work  done  here  and  in  its 
environment  is  the  very  antithesis  of  his  physical  ap- 
pearance, expressing  strength  and  firmness,  having 
also  a marked  individuality  and  refinement.  We  do 
not  find  any  suggestion  of  a parallel. 

There  was  still  another  part  of  France  where  he 
spent  many  joyful  days,  viz.:  in  the  City  of  Rouen, 
the  old  capital  of  Normandie,  situated  upon  the 
banks  of  the  River  Seine.  Here  he  found  some  of  the 


3 


most  important  subjects  which  he  etched  or  engraved, 
either  upon  copper  or  wood,  that  will  for  all  time, 
among  the  discerning,  occupy  a very  high  niche. 

The  diversity  and  adaptability  of  this  artist’s  na- 
ture was  remarkable,  for  in  every  branch  he  seemed 
to  have  absorbed  each  method  in  all  its  complicated 
phases  without  effort;  even  in  his  paintings  there  is 
a something  which  is  unmistakably  all  his  own,  while 
in  other  branches,  viz. : drawing,  etching,  book  illus- 
trating, book-binding  and  faience  designs,  engraving 
upon  wood,  or  drawing  upon  stone  in  each  arid  every 
method  of  the  graphic  arts  showing  a great  range — 
greater  than  would  seem  possible  where  these  fields 
had  already  been  exploited  by  so  many  wonderful  and 
talented  artists.  He  was  most  avaricious,  enthusi- 
astic, always  carrying  on,  never  satisfied,  looking  and 
seeking  after  greater  things,  constantly  studying  na- 
ture in  all  its  phases,  whether  in  the  crowded  streets, 
the  open  country,  the  sea,  the  clouds,  the  wonderful 
cathedrals,  or  factories,  everything,  whether  of  God’s 
or  man’s  handiwork — all  appealed  to  him,  all  touched 
a strong  chord  in  his  religious  nature,  for  lie  had  the 
feeling  that  the  Supreme  Being  was  in  everything! 
Always  having  with  him  his  pencil  and  brush  he  noted 
down  passing  scenes,  interesting  notes,  any  and 
everything  which  appealed  to  his  artistic  nature. 
Often  with  only  a crust  of  bread  in  his  pocket  he 
would  spend  the  day  upon  the  river  or  in  the  field 
forgetting  even  that  it  was  there,  so  absorbed 

4 


was 


he  in  his  work,  the  days  were  always  too  short,  pres- 
sing on,  seeking,  never  at  rest,  trying  always  to  reach 
the  great  ideal.  His  work  with  the  needle  is  both 
strong  and  refined,  every  tone  beautifully  expressed, 
the  design  and  drawing  carefully  and  truthfully  ren- 
dered and  all  in  all  most  interesting  and  attractive 
to  the  eye  and  senses. 

In  his  wood  engraving  (these  we  shall  show  later) 
he  seems  to  have  gone  on  where  others  have  left  off. 
In  lithography  he  has  left  nothing  to  be  asked  for. 
Many  able  critics  have  written  most  feelingly  about 
him.  We  quote  Gabriel  Hanotaux,  who  published 
the  following  (extract)  in  Le  Figaro,  2nd  December, 
1918: 

“Lepere  est  le  maitre  d’un  genre  que  l’Ecole  fran- 
9aise  avait  un  peu  trop  delaisee  depuis  les  grandes 
epoque  du  XVII  et  du  XVIII  siecle,  la  gravure  origi- 
nale.  En  fait  il  excellait  en  tout,  et  quel  que  flit  le 
procede  d’interpretation  auquel  il  eut  recours : Pein- 
ture,  dessin,  gravure  sur  bois,  eau-forte,  gravure  en 
couleurs. 

Sorti  de  la  lignee  d’ Albert  Diirer,  de  Rembrandt 
et  de  Callot,  il  serrait  de  pres,  parmi  nos  contem- 
porains,  Meryon,  Rops,  Bracquemond  et  surtout 
Vierge.  En  fait,  il  n’avait  appris  des  autres  que  le 
technique ; mais  son  art  lui  appartenait  en  propre : 
spontane,  abondant,  multiple,  tou jours  semblable  et 
tou jours  nouveau.  Lepere  fut  uri  grand,  un  inepuis- 
able  createur. 


5 


L’ingenieuse  fertility  de  son  esprit,  son  gout  de 
la  nature,  son  intelligence,  sa  penetration,  son  tem- 
perament sincere  et,  dans  un  certain  sens,  religieux, 
toutes  ces  graces  de  son  genie  et  de  sa  conscience 
etaient  servies  par  une  main  ferme,  admirablement 
assouplie  et  tou jours  sure  d’elle-meme.” 

During  Lepere’s  last  moments  when  his  friends 
were  about  him  he  said:  “Pourquoi  pleurez  vous?  Re- 
gardez  ces  arbres ; leurs  feuilles  tombent,  Je  suis  une 
feuille,  je  tombe  a mon  tour.” 


6 


CATALOGUE 


Auguste  Lepkre’s  personal  friend , M.  A.  Lots-Bris- 
sonneau,  compiled  in  1905,  a catalogue  raisonne,  con- 
taining all  his  etchings  chronologically  arranged,  up 
to  and  including  1903.  We  have  numbered  our  exhibi- 
tion in  accordance  with  the  above  and  have  added  those 
issued  after  1903;  in  each  and  every  case,  noting  the 
state  shozvn,  the  number  published,  and  date  of  issue, 
making  in  all  as  complete  an  assemblage  of  his  etchings 
as  it  is  possible  to  procure.  This  notable  collection  was 
brought  together  by  the  celebrated  amateur,  M. 
Georges  Petit-Didier  of  Paris. 

L.B.  1 Le  Jeu  de  Quilles  a Montmarte  1875 
Second  State,  one  of  ten  impressions 
Reproduction  d’un  tableau  de  1’auteur 
figurant  au  Salon  de  1876 

Not  in  L.B.  Same  title  as  L.B.-l,  viz.: 

Le  Jeu  de  Quilles  a Montmarte  1875 
First  State.  Title  and  State  written 
upon  the  back  of  print. 

L.B.  2 Maison  ou  les  Generaux  Clement 
Thomas  et  Lecomte  ont  ete  1875 
FUSILLES  EN  1871 

Second  State.  One  of  two  impressions. 
There  are  only  four  impressions,  viz. : 
two  in  the  first  and  two  in  the  second 
state.  A view  of  the  “post”  in  the 
“Rue  des  Rosiero,”  which  was  des- 
troyed when  the  Sacre-Coeur  was 
7 


L.B. 


L.B. 


L.B. 


L.B. 


built ; a soldier  is  standing  in  front 
of  the  entrance.  From  an  original 
painting  made  in  1872,  which  was  re- 
fused at  the  Salon  in  1873. 

3 Rue  de  Jouy — Le  Comte  1879 

Only  State.  Two  impressions  were 
printed.  This  is  the  third  etching 
made  by  the  artist. 

4 Rue  de  Jouy — Le  Comte  1880 

Only  State.  Only  four  impressions 
printed.  Reproduisant  un  de  ses  ta- 
bleaux qui  a figure  au  Salon  de  1883. 

5 Le  Remouleur  1889 

Only  State.  Thirty  impressions  in  all. 
Unique  impression,  all  others  bear  the 
engraved  signature  of  “A  Lepere.” 
At  the  left,  behind  the  “grinder”  can 
be  seen  lightly  etched  the  church  of 
“Saint-Gervais.”  The  scene  is  lo- 
cated in  “la  Rue  Sernier-sur-l’Eau.” 

9 Les  Toits  de  Saint-Severin  1889 

Third  State,  one  of  four  impressions. 
This  state  has  been  retouched  by 
Bracquemond,  the  eminent  etcher,  a 
strong  and  intimate  friend  of  Lepere. 
The  retouches  are  in  dry  point  and 
can  be  seen  upon  the  frame  of  the 
stairs,  on  the  rampart,  on  the  steps 
and  on  the  wall  of  the  windows.  All 
impressions  in  the  First  State  were 
destroyed. 

8 


L.B. 


L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


10  Dans  le  Ruisseau,  a Mommarte  1890 

Only  State.  One  of  four  impressions. 

11  Giboulees  1890 

Second  State.  One  of  five  impressions. 
This  subject  was  taken  from  the 
house  of  the  artist  on  the  “Quai  aux 
• Fleurs.”  Upon  the  left  appear  the 
' two  bridges,  the  nearest  one,  “St. 
Louis,”  the  other,  “La  Tournelle.” 

12  Marchandes  de  Poissons,  Rue  Pir- 
ouette 1890 

Second  State,  one  of  five  impressions. 

13  La  Lecture  1890 

Second  State,  one  of  twelve  impres- 
sions. 

14  Nivellement  de  la  Place  Maubert 

1890 

First  State,  one  of  six  impressions. 

14  Nivellement  de  la  Place  Maubert 

1890 

Second  State,  No.  9 of  30  impressions. 
The  “Rue  des  Trois-Portes”  passes  in 
* front  of  the  row  of  buildings. 

15  En  Bateau-Mouche  1890 

Sixth  State,  No.  11  of  thirty  impres- 
sions. The  above  title  is  the  name  of 
the  small  steamers  which  ply  upon  the 
Seine  for  public  conveyance,  “Fly- 
boats.” 


9 


L.B. 


L.B. 


L.B. 


L.B. 


L.B. 


16  L’appel  des  Balayeurs,  la  Nuit  1890 

Third  State,  one  of  thirty  impressions. 
A strongly  bitten  plate  which  is  also 
aquatinted.  The  subject  represents 
the  alignment  of  the  night  sweepers 
in  Paris  upon  the  Rue  Saint- Jacques, 
the  name  of  the  street  being  indis- 
tinctly written  upon  the  sign,  back  of 
the  gas  light. 

17  Combat  contre  la  Neige,  Quai  aux 

Fleurs  1890 

First  State,  very  few  impressions.  In 
the  distance,  “Le  pont  Saint-Louis.” 

17  Combat  contre  la  Neige,  Quai  aux 

Fleurs  1890 

Second  State,  No.  7 of  thirty  impres- 
sions. 

17  Combat  contre  la  Neige,  Quai  aux 

Fleurs  1890 

Second  State,  one  of  thirty  impressions 
which  were  printed  on  various  kinds 
of  paper. 

18  COUCHER  DE  SoLEIL  AU  PONT  MARIE 

1890 

Only  State,  thirty  impressions.  Etched 
upon  zinc  directly  from  nature.  Sub- 
ject— on  the  “Seine/’  showing  at  the 
right,  “le  Quai  des  Celestine.” 

10 


L.B. 


L.B. 


L.B. 


L.B. 


19  La  Rue  du  Croissant  1890 

First  State,  No.  2 of  two  impressions. 
There  were  two  other  states.  After 
a few  were  printed  it  appeared  in 
“Paris-Vivant.” 

20  Cardeuses  de  Matelas  au  Pont  Marie 

1890 

First  State,  No.  1.  Only  a very  few 
printed.  Bridges,  etc.,  of  interest  are 
a portion  of  an  arch  of  “Pont  Marie,” 
“le  Pont  Louis-Philippe,”  “le  Tri- 
bunal de  Commerce”  and  “le  Palais 
de  Justice.” 

21  CoUVERTURE  POUR  LA  PETITE  SeRIE 
D’eaux-Fortes,  “Coins  de  Paris”  1891 

Third  State,  one  of  thirty  impressions. 
The  cover  for  about  thirty  subjects. 

22  Un  14  Juillet,  Rue  Galande,  le  Mat 

DE  CoCAGNE  1891 

Only  State,  No.  7 of  fifteen  impressions. 
From  this  plate  only  fifteen  impres- 
sions have  been  taken,  the  grain  of 
the  aquatint  having  rapidly  disap- 
peared. Lepere  had  intended  to  com- 
plete the  edition  of  twenty-five  im- 
pressions (which  had  been  an- 
nounced) after  he  had  restored  the 
grain  of  the  aquatint.  The  subject, 
a greased  pole  stands  in  the  centre 
of  the  Rue  St.  Julien-le-Pauvre  and 
Galande,  which  three  men  are  pre- 

11 


L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


pared  to  climb;  the  one  in  the  fore- 
ground is  plunging  his  hands  into  a 
pot  of  molasses. 

23  Le  La  voir  1891 

Second  Finished  State,  No.  14  of  thirty 
impressions. 

24s  Au  Luxemrourg  1891 

Unique  impression,  touched  up  with 
brush  and  pencil. 

24  Au  Luxemrourg  1891 

Second  State.  Etched  at  left  “Au  Lux- 
embourg” and  at  right  “A  Lepere” 
etched  on  plate.  There  were  thirty 
impressions  in  the  Second  State. 

26  Embarcadere,  Quai  de  Bercy  1891 

First  State,  No.  4 of  five  or  six  impres- 
sions. Of  the  Second  State  thirty  im- 
pressions printed. 

27  Flaneurs  sur  un  Banc  1891 

Only  State,  No.  8 of  ten  impressions. 
The  Louvre  is  indicated  at  the  back. 

29  Le  Bassin  des  Tuileries  1891 

Only  State,  No.  1 of  two  impressions. 
This  plate  is  covered  with  aquatint 
excepting  in  several  minor  places.  It 
was  done  in  a quarter  of  an  hour  at 
Paul  Renonard’s  house,  who  ex- 
plained the  process  to  him. 


12 


L.B.  31 


L.B. 


L.B. 


L.B. 


L.B. 


Retour  de  Greenwich,  la  Nuit  (large 
plate)  1891 

Second  State,  one  of  ten  impressions. 

32  Retour  de  Greenwich,  la  Nuit  (Small 
Plate)  1891 

First  State,  No.  2 of  five  impressions. 

% 

34>  Embarcadere  sur  la  Tamise  1891 
Second  State,  one  of  seven  impressions. 
Published  in  “Le  Graphhischen 
Kunst.” 

35  Le  Grand  Marche  aux  Pommes  1891 
Second  State,  ten  impressions  printed, 
there  were  to  be  fifteen  more,  the  ar- 
tist wished  to-  retouch  the  plate  be- 
fore printing  them.  Beside  the  above 
subject  there  can  be  seen  also  in  the 
etching  “Le  Quai  de  L’Hotel-de- 
Ville,  the  Seine,  Quai  aux  Fleurs,” 
“towers  of  Notre  Dame,”  “Pont  St. 
Louis,”  connecting  the  Isle  of  the 
same  name  with  the  “Cite,”  the  “Pan- 
thenon”  and  “St.  Etienne-du-Mont.” 

37  La  Nuit 

Second  State,  one  of  three  impressions. 
A great  deal  of  dry  point  is  on  the 
ground  particularly  at  the  left. 

Note: — There  is  no  child  in  the  First 
State. 


13 


L.B. 


L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


38  L’Hiver  1892 

First  State,  five  impressions.  On  the 
border  of  the  Seine.  The  pont  du 

“Point-du- Jour”  is  seen  over  the  rag- 
picker’s head.  This  plate  is  in  both 
dry  point  and  aquatint. 

39  Chemin  dans  le  Marais,  Vendee  1892 

Only  State,  one  of  thirty  impressions. 
Zinc  plate  from  nature. 

40  Maison  de  Pecheurs,  St.  Jean-de- 

Mont  (Vendee)  1892 

Only  State,  No.  14  of  thirty  impressions. 
On  zinc,  from  nature. 

41  Ramasseuses  de  Pignons  1892 

Only  State,  No.  11  of  thirty  impres- 
sions. On  zinc,  from  nature.  View, 
the  beach  of  St.  Jean-de-Mont  (Ven- 
dee). 

42  Joueurs  d’Aluette,  Vendee  1892 

Only  State,  No.  6 of  thirty  impressions. 

43  Sorti  de  l’Ecole,  Marais  Vendeens 

1892 

Only  a few  printed  in  the  First  State. 
Second  State,  No.  11  of  thirty  im- 
pressions. On  zinc,  from  nature. 

44  Rochers  de  Sion,  Vendee  1892 

Only  State,  No.  14  of  thirty  impres- 
sions. On  zinc,  fram  nature. 


14 


L.B. 


45 


L.B. 


L.B. 


L.B. 


L.B. 


L.B. 


L.B. 


Chardons  sur  la  Dune,  Vendee  1892 
Only  State,  No.  2 of  thirty  impressions. 

46  Vieille  Bourrine,  Maison  du  Marais, 

Vendee  1892 

Only  State,  No.  1 of  thirty  impressions. 
On  zinc,  from  nature. 

47  Marche  a La  Volaille,  a St.  Jean-de- 

Mont  1892 

First  State,  No.  2 of  five  impressions. 
On  zinc,  after  nature. 

48  Vue  de  St.  Jean-de-Mont,  Vendee 

1892 

Only  State,  No.  15  of  thirty-five  im- 
pressions. On  zinc,  from  nature. 

49  Pecheurs  fuyant  devant  L’Orage 

1892 

Third  State,  No.  17  of  thirty  impres- 
sions. On  zinc,  from  nature. 

51  Sur  la  Plage,  Croquis,  Essais  de  Mor- 

sures  1892 

(La  Plage  de  St.  Jean-de-Mont) 

Only  State,  one  of  twenty-five  impres- 
sions. On  zinc,  from  nature. 

52  La  Pointe  de  l’Ile  St.  Louis  et  le 

Quai  de  l’Hotel-delVille  1892 

Second  State,  one  of  five  impressions. 
There  were  five  impressions  in  the 
First  State,  and  thirty  in  the  Third 
State,  forty  in  all  States. 

15 


L,B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


52  La  Pointe  de  l’Ile  St.  Louis  et  le 
Quai  de  l’Hotel-de-Ville  1892 

Third  State,  No.  7 of  thirty  impressions 
on  various  papers. 

56  Coupeurs  de  Bouts  de  Cigares  1892 

Fourth  State,  one  of  ten  impressions. 
There  are  four  states  having  a total 
of  twenty-five  impressions. 

57  Au  Pont  Sully  1892 

First  State,  No.  3 of  five  impressions. 

57  Au  Pont  Sully  1892 

Third  State,  No.  20  of  twenty-five  im- 
pressions. 

58  L’Abreuvoir  au  Pont  Sully  1892 

First  State,  No.  1 of  five  impressions. 

63  Le  Verger  1893 

Only  State,  thirty  impressions.  On  zinc 
from  nature. 

66  Bourgeoises  a la  Campaigne,  a Vaureal 

1893 

Only  State,  No.  3 of  thirty  impressions. 
On  zinc,  from  nature. 

67  Chemin  Creux  a Vaureal,  Pres  Jouy- 

le-Moutier  1893 

Only  State,  thirty  impressions.  On 
zinc,  from  nature. 


/ 


16 


No.  63  Le  Verger 


L.B. 


L.B. 

L.B. 

L.B. 

L.B. 


70  Vallee  de  l’Oise,  Pres  Pontoise  1893 

Only  State,  of  which  thirty  were  to  be 
printed  if  the  zinc  plate  held  out. 

71  Au  Coin  du  Pont-aux-Doubles  1893 

Second  State,  No.  3 of  three  impres- 
sions. 

72  VendeMiaire  1893 

A young  girl,  daughter  of  the  artist, 
Lepere. 

Only  State,  thirty-five  impressions. 

Note: — Written  upon  the  face  of  the 
margin  “A  mon  ami : Arsene  Alex- 
andre un  bon  souvenir. — A.  Lepere. 

73  Mon  Atelier,  a Jouy-le-Moutier  1893 

Only  State,  one  of  thirty  impressions. 
On  zinc,  from  nature.  The  studio  of 
Lepere,  with  the  sky-light  and  door 
with  vines  about  it. 

76  Le  Marche  aux  Pommes,  vu  du  Pont 
Louis-Philippe  1893 

First  State,  No.  6 of  fifteen  impressions. 
In  the  distance  the  bridge  “d’Arcole” 
and  to  the  right  the  dome  of  the  “Tri- 
bunal de  Commerce,”  “le  Palais  de 
Justice,”  also  further  off  the  “Lou- 
vre” up  to  the  Pavillion  of  Flora. 

Published  in  the  Graphischen-Kunst, 
de  Vienne.  This  plate  was  etched 
from  nature,  in  the  reverse. 


17 


L.B. 


L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


77  Vue  de  Jouy-le-Moutier  1893 

Only  State,  No.  8 of  thirty-five  impres- 
sions. On  zinc,  from  nature. 

78  Un  Lundi,  Porte  des  Pres-Saint-Ger- 

vais  1893 

Second  State,  No.  2 of  three  or  four 
impressions.  The  houses  of  Pres- 
Saint-Gervais  seen  in  the  distance. 
The  high  mound  with  the  telegraph 
pole  is  the  sloping  bank  of  a fortifi- 
cation. 

78  Un  Lundi,  Porte  des  Pres-Saint-Ger- 

vais  1893 

Sixth  State,  with  title,  one  of  thirty  im- 
pressions. 

79  L’Eglise  de  Jouy-le-Moutier,  S.  et  O. 

1893 

Only  State,  No.  5 of  thirty  impressions, 
pressions. 

80  Enfants  a la  Porte  d’une  Ferme 

Only  State,  No.  7 of  eight  impressions. 
On  zinc,  from  nature. 

82  Paris,  Ete  1893 

Second  State,  No.  7 of  eleven  impres- 
sions. 

84  Les  Deux  Bossus  1893 

Only  State,  No.  6 of  thirty-five  impres- 
sions. 


18 


L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 

L.B. 


87  Route  de  Billancourt  1894 

Only  State,  one  of  thirty  impressions. 
Etched  from  nature.  Subject  re- 
versed. 

88  Diner  a Bellevue  1894 

Only  State,  one  of  thirty-five  impres- 
sions. From  nature,  on  zinc. 

89  Station  d ’Omnibus  a Vaugirard  1894 

Only  State,  thirty  impressions.  On  zinc, 
from  nature. 

90  Sous  le  Pont  de  Bercy  1894 

Only  State,  thirty-five  impressions.  On 
zinc,  from  nature. 

92  La  Maison  Neuve  1894 

Only  State,  No.  3 of  thirty-five  impres- 
sions. 

93  Le  Debardeur,  Quai  de  la  Gare  1894 

On  the  bank  of  the  Seine. 

Second  State,  No.  2 of  three  impres- 
sions. There  were  three  impressions 
of  the  First  State. 

96  Le  Quartier  des  Gobelins  1893 

First  State,  No.  6 of  nine  impressions. 
There  are  four  states.  The  last  state 
appeared  in  “la  Gazette  des  Beaux- 
Arts,”  with  the  title  “Le  Quartier  des 
Gobelins.”  Thirty  impressions  in 
this  state. 


19 


L.B.  100 


L.B.  10 2 


L’Ecluse  de  la  Monnaie  1895 

Only  State,  thirty-five  impressions.  On 
zinc,  after  nature. 

Cite  des  Chiffonniers  1895 

Only  State,  No.  2 of  thirty  impressions. 


L.B.  103  Le  Pont  des  Arts  1890 

Fifth  State,  No.  13  of  thirty  impres- 
sions. The  abutment  of  the  Louvre 
is  seen  on  the  left. 


L.B.  104  Travaux  pour  le  Nouveau  Champ  de 
Manoeuvre  a Issy  1896 

Only  State,  thirty-five  impressions. 

L.B.  108  Carrieres  d’Amerique,  Pres  Paris 

1898 

First  State,  No.  2 of  six  impressions. 
The  “Butte-Montmartre”  with  the 
“Sacre-Coeur,”  and  “Mont-Valerin” 
very  lightly  bitten  are  seen  in  the  dis- 
tance. There  were  twenty-five 
printed  of  the  Second  and  only  other 
state. 


L.B.  108  Carrieres  d’Amerique,  Pres  Paris 

1898 

Second  State,  one  of  twenty-five  im- 
pressions. Artist’s  name  engraved  on 
etching. 

L.B.  110  Aux  Fortifications,  Porte  de  Ver- 
sailles 1898 

First  State,  No.  3 of  five  impressions. 
20 


L.B.  110 

Aux  Fortifications,  Porte  de  Ver- 
sailles 

Second  State,  twenty-five  impressions. 

L.B.  112 

Le  Passeur  (On  the  Seine)  1899 

Second  State,  one  of  thirty-five  impres- 
sions. The  Viaduct  of  “Pont-du- 
Jour”  is  seen  in  the  distance. 

I 

L.B.  116 

Amsterdam,  Vue  de  Victoria  Hotel 

1901 

Second  State,  one  of  thirty-five  impres- 
sions. 

L.B.  117 

Bords  de  L’Amstel  1901 

Second  State,  No.  7 of  thirty-five  im- 
pressions, on  India. 

L.B.  118 

ZwANEN  BuRGWALL,  AMSTERDAM  1901 

Marche  a la  Ferraille,  Le  Matin. 

First  State,  No.  2 of  four  impressions. 
View  taken  from  the  bridge  in  front 
of  Rembrandt’s  house.  In  the  dis- 
tance, lightly  etched,  “Montalban- 
storen.” 

L.B.  119 

Une  Rue  du  Quartier  Juif  a Amster- 
dam 1901 

A “Dry-Point.” 

First  State,  No.  4 of  seven  impressions. 
There  are  two  states. 

21 


L.B.  120  Le  Nys,  Amsterdam  1901 

Second  State,  No.  5 of  thirty-five  im- 
pressions. A note  on  one  impression 
reads,  “Huit  jours  en  Holland  avec 
Lotz.” 


L.B.  121  Haarlem  1901 

A “Dry-Point.” 

Second  State,  number  not  stated.  The 
prominent  figure  in  the  foreground  is 
“Victor,”  well  known  in  Amsterdam. 

L.B.  122  Entree  du  Beguinage,  Bruges  1901 
Second  State,  No.  13  of  thirty-five  im- 
pressions. Representing  “one  of  the 
most  picturesque  parts  of  Bruges.” 

L.B.  124  Le  Pont-Neuf  1901 

Second  State,  No.  9 of  thirty  impres- 
sions. 

L.B.  125  Notre-Dame  Vue  du  Quai  de  Monte- 
bello 1901 

Second  State,  No.  2 of  forty  impres- 
sions. 


L.B.  126  Un  Enterrement  dans  le  Marais  Ven- 

DEEN  1901 

St.  Jean-de-Mont. 

First  State,  No.  3 of  125  impressions. 
This  plate  was  executed  for  Les  Amis 
de  l’Eau-Forte.” 

Note: — There  were  four  or  five  states 
with  very  slight  variations.  Only  a 
few  printed. 

22 


L.B.  126  bis.  Serie  12  Eaux-Forte  1901 
Pouvant  servir  a completer  l’ornemen- 
tation  du  livre  “La  Bievre  et  Saint- 
Severin.” 

De  J.  K.  Hysmans 

One  set  of  the  First  State  and  one  set 
(Number  7)  of  Second  State. 

1 Frontispiece. 

2 La  Bievre  hors  Paris. 

3 Le  Parchemineur. 

4 Ramasseur  de  mouron. 

5 Aux  Gobelins. 

6 Maisons  Rue  Galande. 

7 St.  Nicholas-du-Chardonnet. 

8 Petites  Boutiques. 

9 Impasse  Salembiere. 

10  Coin  de  la  Rue  des  Bernardins. 

1 1 Rue  Bouterbrie. 

12  Rue  du  Pot-au-Lait. 

PUBLISHED  EDITIONS 

10  sets  on  Japan. 

30  sets  on  Holland. 

40  sets  on  China. 


L.B.  128  L’Abreuvoir  au  Pont  Marie  (On  the 
Seine)  1902 

Only  State,  one  of  five  impressions. 
This  bridge  connects  File  St.  Louis 
with  the  Quai  des  Celestine.  In  the 
distance  at  the  left  “le  Tribunal  de 
Commerce”  and  “la  Tour  de  l’Hor- 
loge.” 


23 


L.B.  130 


1903 


Printemps 

First  State,  only  two  impressions. 


L.B.  131  Vielles  Chaumieres,  a Apremont  1903 
Only  State,  No.  2 of  thirty-five  impres- 
sions. On  zinc,  etched  directly  from 
nature. 

The  following  not  in  M.  A.  Lotz-Brissonneaux 
catalogue. 


132  Une  Ruelle  au  Pied  de  la  Cathedrale  de 

Beauvais  1906 

First  State,  No.  4,  of  eight  impressions. 

133  La  Seine  pres  du  Canal  St.  Martin  au  Pont 

d’Austerlitz  1906 

Second  State. 


134  Le  Ballon  qui  Tombe  1906 

First  State,  No.  5 of  seven  impressions. 


135  Rue  de  Montagne,  St.  Genevieve  1906 

First  State,  No.  5 of  six  impressions. 

136  Foire  de  St.  Jean-de-Mont  1907 

First  State,  No.  8. 


137 

138 

139 


Arrivee  au  Moulin  1908 

First  State,  No.  8 of  eight  impressions. 

Chemin  au  Marais  1907 

First  State,  No.  5 of  eight  impressions. 


Dimanche  au  Cabaret  1907 

First  State,  No.  9 of  ten  impressions. 

24 


140  Moulin  de  la  Chapelle  1908 

First  State,  No.  6 of  nine  impressions. 

141  Moulin  de  la  Chapelle  1908 

No.  14  of  thirty-five  impressions. 

142  Le  Poulailler  1907 

First  State,  No.  1 of  nine  impressions. 

143  Sous  Bois  la  Rigonette  1907 

First  State,  No.  8 of  nine  impressions. 

144  Village  de  la  Meule  1907 

First  State,  No.  7 of  nine  impressions. 

145  Vue  du  Port  de  la  Meule  1907 

First  State,  No.  4 of  nine  impressions. 


146  Demolitions,  de  la  Maison  de  Sabra  1907 

First  State,  No.  5 of  nine  impressions. 

147  Bords  de  la  Somme  1907 

First  State,  No.  4 of  nine  impressions. 

148  La  Petite  Mare  1908 

First  State,  No.  4 of  nine  impressions. 

149  La  Petite  Mare  1908 

Termine.  No.  30  of  thirty-five  impressions. 

150  La  Cathedrale  d ’Amiens  1908 

First  State,  No.  3 of  six  impressions. 

151  La  Cathedrale  d’ Amiens  1908 

Second  State,  No.  6 of  six  impressions. 

25 


152 

153 

154 

155 

156 

157 

158 

159 

160 
161 
162 
163 


Decharge  Publique  Quai  de  la  Gare  1908 
First  State,  No.  1 of  impression. 

Bords  de  la  Vic  1909 

First  State,  No.  4 of  six  impressions. 

CoUCHER  DU  SOLEIL  DERRIERE  LES  ARBRES 

1909 

First  State,  No.  3. 

Marche  aux  Legumes  a Amiens  1909 

First  State,  No.  1. 

Ruines  du  Donjon  de  Mortagne  1909 

First  State,  No.  4 of  six  impressions. 

Les  Vieux  Lavoirs,  Pont  de  Grenelle  1909 
First  State,  No.  2 of  six  impressions. 

Orage  Sur  la  Dune  1909 

First  State,  No.  1 of  five  impressions. 

Eglise  de  Jouy-le-Moutier  1909 

First  State,  No.  1 of  eight  impressions. 

Eglise  de  Jouy-le-Moutier  1909 

Etat.  Avant  retouches. 

JUILLET  EN  PlCARDIE  1909 

First  State,  No.  2 of  six  impressions. 

Vielles  Maisons,  a Amiens  1909 

First  State,  No.  2 of  eight  impressions. 

Guinguette,  Route  de  Billancourt  1909 
First  State,  No.  3 of  nine  impressions. 


26 


164? 

165 

166 

167 

168 

169 

170 

171 

172 

173 

174 

175 


Le  Calvaire,  St.  Jean-de-Mont  1909 

First  State,  No.  5 of  nine  impressions. 

Clisson  1909 

First  State,  No.  3 of  nine  impressions. 

La  Masure  1909 

First  State,  No.  5 of  ten  impressions. 

Le  Nid  1909 

First  State,  No.  5 of  nine  impressions. 

Le  Nid  Pauvre  1909 

First  State,  No.  4 of  nine  impressions. 

L’Ondee  1909 

First  State,  No.  5 of  eight  impressions. 

Provins  1909 

First  State,  No.  2 of  ten  impressions. 

L’Enfant  Prodigue  1910 

First  State,  No.  1 of  six  impressions. 

La  Bourrine  aux  Cinq  Enfants  1910 

First  State,  No.  2 of  five  impressions. 

La  Chaumieres  de  Vieux  Pecheurs  1910 
First  State,  No.  2 of  six  impressions. 

Les  Deux  Bourrines  1910 

First  State,  No.  3 of  five  impressions. 

JoURNEE  DE  SEPTEMBRE,  AU  MaRAIS  VeNDEEN 

1910 

First  State,  No.  3 of  four  impressions. 


27 


176  Retour  du  Marche  de  St.  Jean  1910 

First  State,  No.  1 of  nine  impressions. 

177  Retour  du  Marche  de  St.  Jean  1910 

No.  3. 

178  Grande  Maree,  Rocher  de  Sion  1910 

First  State,  No.  8 of  nine  impressions. 

179  Le  Jeu  du  Reposoir  1911 


First  State,  No.  6 of  eight  impressions. 

180  La  Cathedrale  de  Reims 

First  State,  No.  8 of  ten  impressions. 

181  La  Cathedrale  de  Reims 

Second  State,  No.  9 of  ten  impressions. 

182  La  Cathedrale  de  Reims 

Fourth  State,  No.  2 of  eight  impressions. 


183  La  Cathedrale  de  Reims 

On  Japan  paper.  No.  15. 

184  A Gentilly  1911 

First  State,  No.  3 of  ten  impressions. 

185  Bourrine  dans  les  Peupliers  1911 

First  State,  No  8 of  ten  impressions 

186  La  Route  de  St.  Gilles  1911 

First  State,  No.  6 of  ten  impressions. 

187  Pont  de  St.  Cloud  1910 


First  State,  No.  1 of  three  impressions. 
28 


188  L’Arc-en-Ciel  1912 

First  State,  No.  3 of  eight  impressions. 

189  Au  Puits  1912 

First  State,  No.  5 of  eight  impressions. 

190  Belle  Matinee,  d’Autumne  1912 

First  State,  No.  1 of  nine  impressions. 

191  Ciel  Marine,  1912 

First  State,  No.  5 of  six  impressions. 

192  Le  Crepuscule  1912 

First  State,  No.  4 of  nine  impressions. 

193  Peupliers  Tetard  1912 

First  State,  No.  9 of  nine  impressions. 

194  Chaumiere  a Rousseau  1912 

First  State,  No.  1 of  eight  impressions. 

195  Ete  de  la  St.  Martin:  la  Noce  Qui  Passe 

1912 

First  State,  No.  1 of  seven  impressions. 

196  Ete  de  la  St.  Martin:  la  Noce  Qui  Passe 

1912 

Second  State,  No.  1 of  six  impressions. 

197  La  Croix  du  Bois  Macon,  Bel  Automne  1912 

First  State,  No.  3 of  eight  impressions. 

198  L’Etang  de  St.  Nicholas,  Angers  1913 

First  State,  No.  7. 


29 


199  Angers,  La  Maison  du  Roi  de  Pologne  1912 

First  State,  No.  3 of  eight  impressions. 

200  Angers,  La  Montee  de  la  Cathedrale  1912 

First  State,  No.  4. 

201  L’Eglise  de  St.  Prix  1912 

First  State,  No.  1 of  nine  impressions. 


202  La  Mare  de  la  Prairie,  Crevecoeur  1913 

First  State,  No.  1. 

203  Le  Pommier  Mort,  Crevecoeur  1913 

First  State,  No.  1 of  nine  impressions. 

204  Le  Pommier  Renverse,  Crevecoeur  1913 

First  State,  No.  1. 

205  Promenade  du  Dimanche,  Crevecour  1913 


First  State,  No.  1 of  eight  impressions. 


206  Retour  du  Troupeau,  Crevecoeur  1913 

First  State,  No.  5. 

207  Route  de  la  Houssaye  1913 

First  State,  No.  1. 

208  Le  Bout — Genet,  Crevecoeur  1913 

First  State,  No.  1 of  eight  impressions. 

209  Javelles  de  Seigle  1915 

First  State,  No.  2. 


210  Chemin  de  la  Briqueterie,  Crevecoeur 

1913 


211  Le  Moulin  a Lidor,  Crevecoeur  1913 

First  State,  No.  8 of  eight  impressions. 

212  La  Seine  au  Pont  National  1913 

First  State,  No.  1. 

213  Souvenir  de  St.  Denis 

First  State,  No.  5. 

214  Les  Arbres  Tordus  1915 

First  State,  No.  8. 

215  Au  Marais  Inonde,  le  Berger  1915 

First  State,  No.  3. 

216  Dernieres  Feuilles  1915 

First  State,  No.  5 of  seven  impressions.  A 
particularly  fine  example  of  Lepere’s 
work. 

217  La  Ferme  aux  Peupliers  de  Hollande  1915 

First  State,  No.  4. 

218  La  Masure  Inond&e  1915 

First  State,  No.  4. 

219  Le  Petit  Pont  1915 

First  State,  No.  4 of  eight  impressions. 

220  Quartier  de  Pecheurs  1915 

First  State,  No.  5. 


31 


221  Rideau  de  Peupeiers  1915 

First  State,  No.  8 of  eight. 

222  Soir  d’Hiver  1915 

First  State,  No.  6. 

223  A Beeeot  1915 

First  State,  No.  8. 

224  Au  Bore  du  Petit-Morin  A Verdelot  1915 

First  State,  No.  1. 

225  Dans  ee  Verger  1915 

First  State,  No  6. 

226  Eglise  de  Vileeneuve-sur-Beeeot  1915 

First  State,  No:  1. 

227  La  Maison  de  Madame  B. : a Vilesneuve- 

sur-Bellot  1915 

First  State,  No.  4. 

228  La  Vielle  Passerelle,  Ferme  de  ea  Fee 

1915 

First  State,  No.  4. 

229  Village  de  Vileeneuve-sur-Beleot  1915 

First  State,  No.  1. 

230  Vue  de  Verdelot  1915 

First  State,  No.  2. 

32 


231 


La  Vallee  de  Petit-Morins,  A Verdelot 


First  State,  No.  4. 


1915 


232  La  Maison  du  Bucheron  1915 

First  State,  No.  7,  of  eight  impressions. 

233  Saint  Servan 

First  State,  No.  1 of  nine  impressions. 


234  Saint  Servan 

Hors  Tirage.  No  1 of  five  impressions. 

235  La  Pont  de  Poissy 

First  State,  No.  1 of  nine  impressions. 

236  Le  Pont  de  Poissy 

Hors  Tirage,  No.  1 of  nine  impressions. 


237  Angers 

First  State,  No.  1 of  twelve  impressions. 


33 


cArranged  C&  Printed  by' 

Lewis  W.  Goerck 

925  Sixth  cAve.,  N.  Y.  Citjr 


PRINT  DEPARTMENT 
ON 

SECOND  FLOOR 


